SparkNotes: Dracula: Chapters V–VII Chapters V–VII Chapters V–VII, page 2 page 1 of 3 Summary: Chapter V Chapter V consists of several letters and a diary entry. In England, Mina Murray and her friend, Lucy Westenra, exchange letters about their respective romances. Mina is an assistant schoolmistress whose desire to be useful to her future husband has led her to study shorthand and typewriting. She happily reports that her fiancé, Jonathan Harker, has written that he is on his way home. Lucy replies with tales of her own marriage prospects. She has entertained proposals from several men, including Dr. John Seward—the director of a lunatic asylum in London—and a rich American named Quincey Morris. Her heart, however, belongs to a gentleman named Arthur Holmwood, whose proposal she has accepted. The women’s correspondence is followed by a diary entry, on phonograph, by Dr. Seward. The doctor admits his unhappiness at Lucy’s rebuff, but occupies himself with an interesting new patient, a man named Renfield. Following this entry is a congratulatory letter from Quincey Morris to Arthur Holmwood.

Summary: Chapter VI In her journal, Mina describes her visit with Lucy in the picturesque town of Whitby, on the northeast coast of England, and the ruined abbey there that is reputed to be haunted. Mr. Swales, an elderly resident who befriends the two girls and tells them stories about the town, scoffs at such legends. Mr. Swales asserts that most of the graves in the Whitby churchyard are empty, as their supposed occupants were lost at sea. After Swales departs, Mina listens to Lucy’s wedding plans and notes sadly that she has not heard from Jonathan for a month. John Seward continues to report the curious case of Renfield in his diary. The patient has the curious habit of consuming living creatures. He uses sugar to trap flies, uses flies to trap spiders, and uses spiders to trap sparrows. He delights as one creature consumes another and believes that he himself draws strength by eating these creatures. Seward classifies Renfield as a “zoöphagous”—or life-eating—maniac who desires to “absorb as many lives as he can.” Meanwhile, Mina expresses anxiety over her missing fiancé and over Lucy, who has begun to sleepwalk during the night.

Although she seems healthy, Lucy exhibits an “odd concentration” that Mina does not understand. While out walking one day, Mina encounters Mr. Swales, who tells her that he senses his own death is likely not far off. He assures her that he is not afraid of dying and that death is “all that we can rightly depend on.” Mina and Mr. Swales see a ship drifting about offshore as if no one were at the helm. Guessing the vessel to be “Russian, by the look of her,” Mr. Swales assures Mina that they will surely hear more about it. Summary: Chapter VII Two newspaper clippings indicate that the ship Mina and Mr. Swales have seen, a vessel called the Demeter, later washes up on the shore at Whitby during a terrific storm. Its crew is nowhere to be found, while its captain, dead and clasping a crucifix, is discovered tied to the wheel. When the ship runs aground, a huge dog leaps from the hold and disappears into the countryside. The Demeter’s only cargo is a number of large wooden boxes, which are delivered to a Whitby solicitor.

1 SparkNotes: Dracula: Plot Overview Plot Overview Context Character List Jonathan Harker, a young English lawyer, travels to Castle Dracula in the Eastern European country of Transylvania to conclude a real estate transaction with a nobleman named Count Dracula. As Harker wends his way through the picturesque countryside, the local peasants warn him about his destination, giving him crucifixes and other charms against evil and uttering strange words that Harker later translates into “vampire.” Frightened but no less determined, Harker meets the count’s carriage as planned. The journey to the castle is harrowing, and the carriage is nearly attacked by angry wolves along the way. Upon arriving at the crumbling old castle, Harker finds that the elderly Dracula is a well educated and hospitable gentleman. After only a few days, however, Harker realizes that he is effectively a prisoner in the castle. The more Harker investigates the nature of his confinement, the more uneasy he becomes. He realizes that the count possesses supernatural powers and diabolical ambitions. One evening, Harker is nearly attacked by three beautiful and seductive female vampires, but the count staves them off, telling the vampires that Harker belongs to him.

Fearing for his life, Harker attempts to escape from the castle by climbing down the walls. Meanwhile, in England, Harker’s fiancée, Mina Murray, corresponds with her friend Lucy Westenra. Lucy has received marriage proposals from three men—Dr. John Seward, Arthur Holmwood, and an American named Quincey Morris. Though saddened by the fact that she must reject two of these suitors, Lucy accepts Holmwood’s proposal. Mina visits Lucy at the seaside town of Whitby. A Russian ship is wrecked on the shore near the town with all its crew missing and its captain dead. The only sign of life aboard is a large dog that bounds ashore and disappears into the countryside; the only cargo is a set of fifty boxes of earth shipped from Castle Dracula. Not long after, Lucy suddenly begins sleepwalking. One night, Mina finds Lucy in the town cemetery and believes she sees a dark form with glowing red eyes bending over Lucy. Lucy becomes pale and ill, and she bears two tiny red marks at her throat, for which -neither Dr. Seward nor Mina can account. Unable to arrive at a satisfactory diagnosis, Dr.

Seward sends for his old mentor, Professor Van Helsing. Suffering from brain fever, Harker reappears in the city of Buda-Pest. Mina goes to join him. Van Helsing arrives in Whitby, and, after his initial examination of Lucy, orders that her chambers be covered with garlic—a traditional charm against vampires. For a time, this effort seems to stave off Lucy’s illness. She begins to recover, but her mother, unaware of the garlic’s power, unwittingly removes the odiferous plants from the room, leaving Lucy vulnerable to further attack. Seward and Van Helsing spend several days trying to revive Lucy, performing four blood transfusions. Their efforts ultimately come to nothing. One night, the men momentarily let down their guard, and a wolf breaks into the Westenra house. The shock gives Lucy’s mother a fatal heart attack, and the wolf attacks Lucy, killing her. After Lucy’s death, Van Helsing leads Holmwood, Seward, and Quincey Morris to her tomb. Van Helsing convinces the other men that Lucy belongs to the “Un-Dead”—in other words, she has been transformed into a vampire like Dracula.

The men remain unconvinced until they see Lucy preying on a defenseless child, which convinces them that she must be destroyed. They agree to follow the ritual of vampire slaying to ensure that Lucy’s soul will return to eternal rest. While the undead Lucy sleeps, Holmwood plunges a stake through her heart. The men then cut off her head and stuff her mouth with garlic. After this deed is done, they pledge to destroy Dracula himself. Now married, Mina and Jonathan return to England and join forces with the others. Mina helps Van Helsing collect the various diary and journal entries that Harker, Seward, and the others have written, attempting to piece together a narrative that will lead them to the count. Learning all they can of Dracula’s affairs, Van Helsing and his band track down the boxes of earth that the count uses as a sanctuary during the night from Dracula’s castle. Their efforts seem to be going well, but then one of Dr. Seward’s mental patients, Renfield, lets Dracula into the asylum where the others are staying, allowing the count to prey upon Mina.

As Mina begins the slow change into a vampire, the men sterilize the boxes of earth, forcing Dracula to flee to the safety of his native Transylvania. The men pursue the count, dividing their forces and tracking him across land and sea. Van Helsing takes Mina with him, and they cleanse Castle Dracula by killing the three female vampires and sealing the entrances with sacred objects. The others catch up with the count just as he is about to reach his castle, and Jonathan and Quincey use knives to destroy him. More Help Whitby: Town of Voyagers and Vampires Ancient Britain ï¿½ Castles ï¿½ Churches/Cathedrals ï¿½ Houses/Manors ï¿½ Museums ï¿½ Towns ï¿½ Countryside ï¿½ London ï¿½ History & Folklore ï¿½ Travel Tips Test daily news Whitby: Town of Voyagers and Vampires by Jane Gilbert Visitors to Whitby can't escape its quintessential Britishness. From fish and chips to rainy picnics, this small fishing town on the north east coast embodies England's fast disappearing seaside tradition.

While the Victorian grandeur of Plymouth and Torquay decays along rusting piers and dreary promenades, Whitby's vitality and freshness can be sensed throughout its cobblestone streets. First colonised in the fifth century A.D, Whitby witnessed a vital turning point in the history of the English church. The cliff top Abbey, founded in 657 A.D., was the site of an early Synod Council in 664, where the Celtic and Roman churches tussled over the date of Easter. King Oswiu decided in favour of Rome. After all, it is St Peter who holds the keys of heaven. His decision brought the English church into close contact with the rest of Europe. English poetry also sprung from Whitby. The ploughboy Caedmon, acclaimed as the first poet in the English language, died there in 680 A.D. The abbey was destroyed by Vikings, but rebuilt in 1077. You can see echoes of the medieval gothic style in today's ruins. In the 1700s the town became an important whaling port. The two jaw bones of the West Cliff Arch, a reminder of Whitby's whalers, tower above you.

But the sixteen foot, three hundred and fifty pound bones you see today are not as old as you might think. In 2002, it was noticed that the whalebone arch was decaying. Help came from Whitby's sister city of Anchorage, Alaska, who presented the town with a new set of blue whale bones to commemorate the 25th anniversary of their relationship. One of Whitby's most famous sons is Captain James Cook, the 18th-century explorer who discovered Australia. He was apprenticed to a Whitby ship-owner at the age of eighteen. His first voyage was on the cargo ship The Freelove, carrying coal from the north down to London. The dangerous, ill-marked North Sea waters offered the splendid practical training that allowed Cook to confront dangers from the Antarctic to the Great Barrier Reef. He rose through the merchant ranks, taking advantage of the winter months of refitting to study mathematics by night. Seeking wider prospects in the Royal Navy, Cook's valuable seafaring experience and leadership qualities saw him posted to America, where he protected British colonial interests against the French during the Seven Years War. He proceeded to make his name as a cartographer, mathematician and astronomer.

Nonetheless, when the Admiralty organised the first scientific expedition to the Pacific in 1768, Cook, now forty, was a surprise choice as commander. In a plain but dependable coal-bark from Whitby, renamed HMS Endeavour, Cook successfully dropped off Royal Society botanists, astronomers and artists in Tahiti, thus establishing the tradition of ship-board scientists that saw Charles Darwin sail on his landmark expedition on The Beagle. Next, Cook headed south-southwest in search of Terra Australis, at that time a mere cartographic conjecture. Not only did he find and chart New Zealand, he successfully navigated and surveyed the world's toughest navigational hazard -- the Great Barrier Reef -- and returned to England with remarkably few losses, notably none to scurvy. Cook demanded cleanliness and ventilation in the crew's quarters and a diet including greenstuffs and citrus. His sailors' health made him a naval hero. Cook went on to explore the South Seas in another Whitby ship, The Resolution, discovering many islands that remain British possessions to this day.

After an unsuccessful search for the Northwest Passage, he was killed in Polynesia, but not before he met the king, was made a captain, and was elected with highest honours to the erudite Royal Society for defeating scurvy. Visitors can relive the past on a replica of the Endeavour which carries tourists on excursions into the bay, while the Grape Lane house where he lived houses the popular Captain Cook Museum. One of the most popular souvenirs to take home is a trinket made from the unique Whitby black jet stone. Formed from the remains of a tree from the Jurassic Period, the stone is only found along one stretch of Whitby coastline. Another essential memento is a print from Victorian photographer Frank Meadow Sutcliffe. From fisherman hauling in the day's catch to moony-eyed children playing on the beach, the images from Whitby's heyday offer a remnant of a town with history dripping from every building. You can't walk far along the winding streets, however, before you notice what Whitby is most famous for. Vampire myths are found in cultures all over the world and have been the inspiration for spine-chilling legends and innumerable films.

But the most famous vampire of all, without a shadow of a doubt, was created by Victorian writer Bram Stoker. Count Dracula may have his roots firmly in Eastern Europe, but in Stoker's story he visits a small seaside resort on England's north-east coast in search of British blood. After all, even vampires need a holiday. The infamous Count is around every corner and in every shop window. And, despite his gruesome taste for blood, Dracula has brought fresh life to this windswept part of Britain -- in the shape of tourism. In the early 1890s, when Bram Stoker was writing his famous novel, Whitby was a thriving port and fishing town. It was also an increasingly popular seaside resort for wealthy and fashionable Victorians. When the fishing industry began to decline in the later part of the twentieth century, Whitby survived because of its popularity with tourists. Bram Stoker often took his holidays here. He stayed in The Duke of York, a riverside inn, whilst working on the novel. Locals tell the tale that pigeons perched on the window ledge of Stoker's room, pecking away with their beaks at their own reflections in the glass.

They say this found its way into the novel when the Count's nails scrape against Lucy's window as he tries to get in, hellbent upon making her one of the undead. In Stoker's novel, after the shipwreck of The Demeter, Dracula runs up the famous 199 steps to the graveyard in St Mary's church in the shape of a black dog. An examination of the ship's log shows that the crew members had been gradually disappearing since she left Varna in Russia. But it is the ship's cargo which gives readers a clue about how Dracula managed to travel so far without being noticed -- it is full of coffins. This passage of the novel is based on historical fact. A few years before Stoker came to Whitby, a ship called The Demetrius was damaged on the rocks near the harbour. Its cargo of coffins tumbled into the sea. The locals revelled in telling yarns about the dead bodies that appeared on the town's beaches in various stages of decay for weeks after. A bench on the cliff top path is inscribed with the words 'The view from this spot inspired Bram Stoker (1847-1912)'.

Although if all the hotels, cafes and street corners laying claim to a Stoker connection are telling the truth, it's a wonder his book wasn't a thousand pages long. One tourist attraction less concerned with facts than fun is the Dracula Experience on the West Cliff. Sinister music attracts the attention of passers-by. Visitors wander through the darkness while animated characters re-enact the story, including a Dracula figure that rises again and again from his coffin. A mix of live actors and edifying displays create a semi-serious atmosphere of horror. Whilst you might not emerge shaking with fear, the Experience certainly offers a lively introduction to Whitby's Dracula heritage. Those seeking a more authentic experience, while taking in some of the town's historical sites, should opt for one of the themed walks offered by expert local guide, Harry Collett. You can choose between general ghost tours and dedicated Dracula walks, as well as more educational options, exploring the town's maritime history and that of the surrounding countryside. Of course, it's the Dracula walks which are always the most popular.

'Our fear of vampires,' suggests Harry, 'is as ancient as our fear of darkness.' Not frightening enough to keep away the two thousand goths who flock to Whitby each May and November for a Dracula festival. And tourists are always fascinated by the depth of Harry's knowledge. The questions he is most often asked are 'Is Dracula still alive?' 'Where is he buried?' and 'Are you Dracula? Don't forget to visit the ancient Abbey, even though it will mean climbing the famous 199 winding steps. I clambered up towards midnight under a full moon. With the Abbey floodlit orange against the night sky and the broken tombs and faded inscriptions of nearby St Mary's church graveyard, the view when you get to the top is well worth it. Perhaps it was the sound of the sea crashing into the base of the cliffs, or the shakiness of my legs after the long climb, but it was easy to imagine Dracula lurking in every shadow. I certainly felt relieved to get back to the relative normality of the town. Whitby will continue to cash in on the Dracula connection as long as the world's most enduring horror novel remains popular.

But, whether you tremble at the top of the 199 steps or laugh at the models in the Dracula Experience, it really doesn't matter. Vampires may seem a million miles away when you are chomping away on traditional British fish and chips by the shore, but there are enough plastic Dracula souvenirs around to scare anyone. Related Articles: Gill Davies - London in Dracula; Dracula in London (Literary London Journal) Literary London: Interdisciplinary Studies in the Representation of London, Volume 2 Number 1 (March 2004) London in Dracula; Dracula in London Gill Davies 1 From Transylvania to London <1> The critical discussion of Dracula has emphasised the importance of place in structuring the narrative and developing the themes of the novel. Stephen Arata and others have shown how the geography of the novel echoes contemporary fears about global economic competition and builds on racial anxieties, particularly in its opposition of East and West. Dracula is a novel about crossing borders, encountering the alien and driving it back; it is also about dangerous, unrestrained movement and the need for confinement of the threatening 'other'.

In this article, I will concentrate on the way in which the detailed geography of London is deployed to highlight a number of imperial and national anxieties. These anxieties are mapped on to some of the key places in the fin de siecle / modern metropolis. The location map and the four detailed maps at the end of this article show the key movements and locations in the text. <2> There are references throughout the novel to the four compass points, but especially to east and west. This opposition is a familiar one in the construction of London and it had gathered particular ideological and emotional force by the time Dracula was published. Social explorers, novelists, philanthropists and sociologists had developed this discursive opposition since the 1880s. The West End was the centre of government, wealthy residences and leisure, while the East End was 'unknown England', 'the nether world', 'outcast London', 'the abyss'. In addition, West End with its government offices served as a site for imperial spectacle: during her Golden Jubilee in 1887, Queen Victoria... was carted around the major thoroughfares, escorted by an Indian cavalry troop. Meanwhile, another kind of imperial spectacle was staged in the East End.

The docks and railway termini of the East End were international entrepots for succeeding waves of immigrants, most recently poor Jews fleeing the pogroms of Eastern Europe.[ 1 ] In Dracula, Stoker reiterates this sense of London as both heart and image of the Empire, using its familiar locations to heighten fears of invasion, contamination and disease. Dracula is, of course, from the east, and regularly associated with it. He comes ashore on the east coast at Whitby and takes a house at Purfleet on the Thames at the eastern edge of London. As several critics have shown, Dracula's association with the East End links him with foreigners, especially Jews from eastern Europe and 'oriental' foreigners, as well as with an area associated in the public mind with crime and violence. Indeed, the novel gives us a band of sturdy western Europeans along with the American, Quincy, combining to reject the eastern Other. The broad locations of the novel match the moral authority and destiny of the main characters and can be schematically represented as: WEST Seward Renfield There is a clear spectrum of value, moving from west to east. Jonathan and Mina share a basic innocence and moral superiority with Quincy.

Arthur's family home is the Godalming estate at Ring, presumably south-west of the capital, and he stays in the West End at the Albemarle in Piccadilly when in London. Dracula's chief antagonist, Van Helsing has to come from the continent, though from a neighbouring and protestant country, since the 'innocence' of England is critical to the dramatic exegesis: Van Helsing is a bulwark against Dracula because he has an understanding of the supernatural and vampire lore that is not possible for an Englishman. The extensive movement that we find in the novel (from the provinces, across Europe, from America) is all to and from London, the 'world city'.[ 2 ] London is the heart of the novel, but also of the empire and the nation. Dracula threatens to consume its blood and cut off the circulation of its capital. Although he is linked to the East End and the moral panics associated with it, Dracula is at his most dangerous in the West End. <3> The concentration on London is contextualised by the opening sections of the novel in which Jonathan Harker travels east across Europe. His account highlights the border between the civilised west and the dangerous orient.

(Even his train is one hour late, as civilisation is left behind.) Budapest is seen as the dividing point between east and west: he crosses the Danube into "the traditions of Turkish rule".[ 3 ] Castle Dracula is "in the extreme east of the country, just on the borders of three states" so that Dracula's liminality is emphasised. In addition, Transylvania is uncharted and Jonathan cannot get "the exact locality of the Castle Dracula as there are no maps of this country as yet to compare with our own Ordnance Survey maps" (10). By contrast, the count makes good use of the modern communications and maps that are the product of the great imperial project. For Victorian readers the lateness of the trains demonstrates the backward and primitive nature of this country - "the further east you go the more unpunctual are the trains" (11). And only a few pages later, Jonathan finds Dracula "lying on the sofa, reading, of all things in the world, an English Bradshaw's Guide" (34) which will guarantee his easy movement around the country.

Also on the table is "an atlas which I found opened naturally at England, as if that map had been much used" (36). The places Dracula has marked in the atlas are very significant: Purfleet, Exeter, and Whitby. In the plot, they are the places where he will live and find his first victims (Lucy at Whitby, Renfield in the asylum next to the house at Purfleet) and the address of his solicitor (Exeter) which is also the town where Mina is working as schoolteacher. It is important that Dracula has already planned these locations, basing himself in London at the centre and spreading his influence out north east and south west. Most of the main characters are brought together by Dracula, in his plot, before they join together to try to defeat him. <4> Dracula's desire for economic power is affirmed when he asks Jonathan about legal transactions; how many solicitors he can have for "banking" and "shipping" (43). His will be a business empire, though the goods he will ship initially are boxes of soil plus himself. We are told (45) that he is writing, among others, to Coutts & Co.

London, a bank with very rich and important customers, including the royal family -- another sign of Dracula's ambition and his threat to the symbols of national power. The house that Jonathan has found for Dracula is called Carfax. He explains this as deriving from the fact that "the house is four-sided, agreeing with the cardinal points of the compass" (34). This is another reference to mapping and to Dracula's plans to use the geography of London to conquer it. According to Leonard Wolf, another derivation is not "quatre face" but "carrefour", a crossroads, "a place where four roads meet",[ 4 ] reinforcing Dracula's position at the centre and his plan to access each corner of the city. <5> Soon after, Jonathan finds the Count in his coffin, recently fed, and comments that "This was the being I was helping to transfer to London, where, perhaps for centuries to come, he might, amongst its teeming millions, satiate his lust for blood, and create a new and ever widening circle of semi-demons to batten on the helpless" (67). Of course, this provokes fear for the empire and the race, but the key word here is "transfer".

Dracula himself is represented as goods or money to be transferred legally by this English solicitor to the heart of London, an extended analogy between Dracula and the threat of foreign capital. (Compare Moretti's very useful discussion of the vampire and capital where he points out that Dracula was published after "twenty long years of recession".)[ 5 ] The novel thus indirectly expresses contemporary concerns about the state of the British economy and competition from abroad. Dracula is the parasite (the speculator, represented so often as a Jew)[ 6 ] waiting to benefit from England's decline. <6> Then, in the library, Jonathan finds, . . . a vast number of English books, whole shelves full of them... all relating to England and English life and customs and manners. There were even such books of reference as the London Directory, the 'Red' and 'Blue' books, Whitaker's Almanack, the Army and Navy Lists, and . . . the Law List.

(30) The London Directory is a business list; the Red Books listed all the state pensioners from the courts and civil service; the Blue Books were Parliamentary records and reports; Whitaker's had been since 1868 a directory of information on the British government and social structure; and the Army, Navy and Law lists included the names of officers, qualified solicitors, barristers, judges and so on. What Dracula has accumulated, like a terrorist, is a compendium of the institutions and people involved in all the important areas of British society: business; government; the civil service; the armed forces; the legal system . As Dracula himself says, Through them I have come to know your great England; ... I long to go through the crowded streets of your mighty London, to be in the midst of the whirl and rush of humanity, to share its life, its change, its death and all that make it what it is.' (31) Dracula's interest in the centres of power (financial, political, legal, military) is threatening because of his total knowledge of the institutions and practices of the modern imperial state.

Stoker marshals discourses and imagery similar to those we are familiar with now in the 'war against terrorism' and the 'axis of evil': the threat of shape-changing terrorists from the east, among us and invisible, countered by an Anglo-American alliance. In 1897, it is an image of what Arata calls 'reverse colonisation': In the marauding invasive Other, British culture sees its own imperial practices mirrored back in monstrous forms. Stoker's Count Dracula ... frightens[s] not least because [his] characteristic actions -- appropriation and exploitation -- uncannily reproduce those of the colonising Englishman.[ 7 ] Dracula's journey west to the financial capital of the empire is thus a literal transgression of boundaries and a frightening reversal of imperial expansion. Even before the action of the novel moves to London, a powerful set of oppositions and images has been established. Once in London, the spatial meanings are elaborated and intensified. 2 Dracula in London <7> Various characters converge on London at the same time as the Count. The maps and key (see end) illustrate how important the geography of London is to the representation of Dracula's growing power.

The Hon.Arthur Holmwood stays at the Albemarle Hotel in Piccadilly when he is in town ( See Piccadilly map ). His and Quincy's "old pal" (79) Jack Seward is now running the asylum at Purfleet (the west/east axis). Lucy, having written to Mina from an address in Chatham Street, Southwark (presumably a town house near to her father's business) has returned to Hillingham, the family home in north London, with her mother (the north/south axis). It is near Hampstead Heath, scene of Lucy's later vampiric outings, and the churchyard where she is buried, at 'Kingstead'( See Hampstead map ). The proximity of the characters to each other, and the ease of modern communication by train and telegraph make it easy for Seward to drop over for an afternoon from Purfleet, or for Van Helsing to come over quickly from the Great Eastern Hotel at Liverpool Street in the east of the city to Hillingham, or from the Berkeley Hotel in Piccadilly in the west ( See East End map ).

Small details, which would be known to many readers, are used to build the sense of Dracula's monstrous invasion of a familiar space. For example, when Seward arranges to meet Lucy away from her house so as not to worry her ailing mother, they go to Harrods -- 'the Stores' (138), already a popular place for a respectable woman to be seen. <8> From early on, Dracula causes disturbance in the west end of the city, where wealth, fashion and leisure are based. First of all, Berserker, a Norwegian wolf in the Zoo in Regents Park, escapes after an encounter with Dracula, then returns with a cut on the head but docile (165). The wolf gets as far as Hillingham where it frightens Lucy and her mother, appearing at the broken window (173-4) (See Regent's Park and Hampstead maps). This disturbance in the north western reaches of the city is the first indication that Dracula's influence is spreading from the east. (It is echoed in Lucy's name, Westenra.) There may be further significance in the introduction of Regent's Park Zoo.

In plot terms, it would have been sufficient to have a wolf escape, but Stoker gives us the lengthy Pall Mall Gazette interview with a keeper (165-171) in his cottage 'in the enclosure behind the elephant-house.' Why so much detail? Jonathan Schneer points out that the Zoo was a conscious emblem of Britain's imperial victories, with animals from every corner of the globe. By the end of the century, 'visiting the zoo had become a common form of popular recreation. More than half a million people attended annually.'[ 8 ] Thus to locate Dracula in the zoo is not only to identify his animalistic and dangerous drives, but also to point up his threat by placing him in relation to a popular imperial signifier. <9> A more serious disturbance occurs when Dracula begins to "go through the crowded streets of your mighty London" (31) as he had earlier anticipated. Mina and Jonathan have returned to London, after his lengthy period of convalescence in Exeter. Almost immediately Jonathan suffers a relapse after seeing Dracula in Piccadilly (206ff.).

This area has become the focal point of the action and represents the high point of Dracula's power as he achieves his expressed wish to blend into the crowd, to be undetectable as a foreigner ( See Piccadilly map ). From this point in the novel, Dracula acquires the characteristics of the figure of the flaneur and moves through the city with the powerful freedom associated with that figure. In adopting many of the features of the flaneur, Stoker links Dracula with the quintessential European city type, rather than with the primitive, decadent aristocrat from Transylvania. At the opening of the novel, Dracula is firmly placed as part of 'old' Europe, now in terminal decline: associated with peasants, superstition, primitive transport and so on. He is " a tall old man, clean-shaven save for a long white moustache, and clad in black from head to foot "(25). But once in London he looks quite different: " a tall, thin man with a beaky nose and black moustache and pointed beard" (207).

As well as 'modernising' the vampire by associating him with the metropolis, Stoker may be tapping into the prejudices of his readers by linking him to the flaneur. By the end of the nineteenth century, the flaneur's point of view in the city was firmly established as that of "a man walking, as if alone, in its streets."[ 9 ] The flaneur has a freedom, separateness and protection in the anonymous, complex life of the city and, as a lone figure, is able to penetrate and understand the city because of his detachment. For a largely conservative readership, unable through work and domestic responsibilities to access such freedom, this is a dangerous image. It is also, we may assume, a threatening one. Benjamin stressed the alienation of the flaneur, describing his point of view as, . . . the gaze of the alienated man. It is the gaze of the flaneur, whose way of life still conceals behind a mitigating nimbus the coming desolation of the big-city dweller. The flaneur still stands on the threshold -- of the metropolis, as of the middle class. Neither has him in its power yet.

In neither is he at home. He seeks refuge in the crowd.[ 10 ] If we examine the episode in Piccadilly in more detail, it seems clear that this is a pivotal moment in the text. Jonathan and Mina have been strolling, after Mr Hawkins's funeral, visiting the fashionable and safest parts of the city. They have taken a bus to Hyde Park Corner, visited Rotten Row, and then they walk down Piccadilly. Mina sees Jonathan staring at a man looking at a girl: I was looking at a very beautiful girl in a big cart-wheel hat, sitting in a victoria outside Giuliano's, when I felt Jonathan clutch my arm so tight that he hurt me . . . . He was very pale, and his eyes seemed bulging out as, half in terror and half in amazement, he gazed at a tall, thin man ... who was also observing the pretty girl. He was looking at her so hard that he did not see either of us, and so I had a good view of him. His face was not a good face; it was hard, and cruel, and sensual . . . .

He kept staring; a man came out of the shop with a small parcel, and gave it to the lady, who then drove off. The dark man kept his eyes fixed on her, and when the carriage moved up Piccadilly he followed in the same direction, and hailed a hansom. (206-8) Dracula demonstrates the flaneur's freedom to stare, and to follow. He is, in a sense, 'above' the small preoccupations of urban life, shopping and so forth. He is directly contrasted with Jonathan whose gaze is powerless and who nearly faints and has to go and sit down in Green Park where he falls into a feminine sleep. Dracula's movement through London, having access to "the helpless" and in particular to beautiful young women, suggests that the growth of the metropolis, its huge gathering of people, and the introduction of greater freedom for women, only makes the work of evil, pollution and vice easier. He is very far west now and operating in the fashionable heart of London. Piccadilly, Rotten Row and Green Park are traditional locations for the rich, near to the home of the Royal Family, and the centre of Government.

In addition, as Walkowitz points out, by this time, the West End of Mayfair and St James had undergone considerable renovation; from a wealthy residential area it had been transformed and diversified into the bureaucratic center of empire, the hub of communications, transportation, commercial display, entertainment and finance. In the process, a modern landscape had been constructed - of office buildings, shops, department stores, museums, opera, concert halls, music halls, restaurants and hotels - to service not only the traditional rich of Mayfair but a new middle class of civil servants and clerks living in such areas as Bayswater and the nearby suburbs.[ 11 ] These civil servants and clerks, reading Dracula, would get a particular frisson from their awareness of the significance of this location. The flaneur is, of course, specifically a bohemian or upper class figure; a man with leisure and income and as such is quite threatening to the bourgeois work ethic and the ideology of Stoker's wage-earning readers. Untrammelled by family and responsibilities, he is suspiciously 'free'. Taken along with Dracula's foreignness (not to mention his monstrosity), this makes him a troubling figure for a lower middle and middle class readership.

In a later note, Benjamin refers to the "case in which the flaneur completely distances himself from the type of the philosophical promenader, and takes on the features of the werewolf restlessly roaming a social wilderness".[ 12 ] This insight is a fascinating link with the figure of the vampire, not very different from the werewolf. And it fits Dracula very well when we remember his animal teeth and the predatory and animalistic way in which he looks at the woman. (He also of course has an affinity with Berserker, the wolf in the Zoo.) <10> The next major shock in the novel is Lucy's becoming a predator on children. London is beginning to be encircled by Dracula's creations and familiars: the wolf in the west, Renfield in the east, and now Lucy in the north (Hampstead Heath (213ff)). This is reinforced by the pattern of distribution of Dracula's fifty boxes of soil. At the chapel in Carfax, van Helsing and company find only twenty nine boxes left (300).

Where are the twenty one boxes that were taken away from Carfax by the carters who live in the east and south of the city (Snelling in Bethnal Green, Smollett in Walworth)? It becomes clear that they are meant to encircle London. As Harker says, If then the Count meant to scatter these ghastly refuges of his over London, these places were chosen as the first of delivery, so that he might later distribute more fully. The systematic manner in which this was done made me think that he could not mean to confine himself to two sides of London. He was now fixed on the far east of the northern shore, on the east of the southern shore, and on the south. The north and west were surely never meant to be left out of his diabolical scheme -- let alone the City itself and the very heart of fashionable London in the south-west and west. (311) And so it turns out: he discovers nine boxes have been taken to a house in Piccadilly. If Piccadilly is the "very heart of fashionable London", now only the City, the north and the west remain to be colonised and that is already being accomplished.

Is there any significance beyond the broad compass points of the places that Stoker chooses for Dracula's imperial conquest? Chapter 20 is very specific about where the boxes are taken, including reference to the deeds to houses that Dracula has bought (358). He sends six boxes to 197 Chicksand St., Mile End New Town. This fictional address in Whitechapel / Stepney would have had particular resonance in 1897. Not only was it one of the working class areas that had been the focus of concerns about poverty and crime, it was also associated with immigrants who came in through the docks, especially Jewish and other people from the East. Since the 1870s, the East End had been a site for panics about working class degradation, crime and disease. It was also the focus for fears of immigration, expressed in anti-semitic and orientalist discourses. <11> Moreover, Whitechapel would be remembered by Stoker's readers for the 1888 Jack the Ripper murders (four women were murdered in Whitechapel and Spitalfields, the fifth nearby in the City).

In Judith Walkowitz's discussion of the journalistic construction of the Ripper murders, she comments that it constitutes " a male-directed fantasy, [close] in tone and perspective to the literature of urban exploration and the male Gothic."[ 13 ] The representation of London in Dracula and the location of some of its key moments draws significantly on the discourses that surrounded the Whitechapel murders, adding a contemporary frisson to the figure of the vampire. Newspapers described Whitechapel as, a notorious, poor locale, adjacent to the financial district (the City) and easily accessible from the West End . . . . To middle-class observers, Whitechapel was an alien place, a center of cosmopolitan culture and entrepot for foreign immigrants and refugees . . . . [T]he middle classes of London were far less concerned with the material problems of Whitechapel than with the pathological symptoms they spawned, such as street crime, prostitution, and epidemic disease.[ 14 ] The Times saw Whitechapel and the East End as a source of contamination, using an analogy with organic material that echoes Stoker's choice of boxes of soil for Dracula's self-reproduction: We have long ago learned that organic refuse breeds pestilence.

Can we doubt that neglected human refuse as inevitably breeds crime, that crime reproduces itself like germs in an infected atmosphere, and becomes at each successive cultivation more deadly.[ 15 ] The remaining places where boxes are deposited also have significance. Six are taken to Jamaica Lane, Bermondsey, suggesting a foothold for Dracula in a commercial and small scale industrial working class area close to the river and the docks. This fictional address -- 'Jamaica' -- signifies its colonial links and financial importance. The remaining nine boxes are taken to a house in Piccadilly at the heart of the fashionable West End. This house, which Dracula has bought, gives him a commanding position adjacent to political and gentlemen's clubs (it is just "beyond the Junior Constitutional" (316), probably based on the Junior Athenaeum on the corner of Down Street and Piccadilly) and overlooking Green Park (356). It is also significantly at the west end of Piccadilly, near to Buckingham Palace Gardens. In the contrasting locations for Dracula's boxes we can perhaps also see the lingering influence of the panics about, and mythologising of, the Ripper.

Amongst various suspects and scapegoats (including the figure of the fanatical and violent Jew) was the theory that the Ripper was a respectable professional West End man with a divided personality - a Jekyll and Hyde figure. Stevenson's novella, The Strange Case of Dr Jekyll and Mr Hyde had been published in 1886 with a stage version in 1888. Journalists used the literary reference to promote the idea of the Ripper as an alternative West End monster. Thus we can perhaps see the juxtaposition of Whitechapel and Piccadilly in the novel as Stoker borrowing from fiction and from recent events to centre anxieties on Dracula. Certainly, contemporary speculation about the identity of the Ripper - a mad doctor, an aristocrat, a Jew - has some striking parallels with the cast of Dracula. Dracula himself is an aristocrat, linked physiognomically and ideologically with Jews, and closely associated with the mad house at Purfleet. It takes a team including an English aristocrat and two doctors to defeat him.

The estate agents tell Arthur (now Lord Godalming) that a 'Count de Ville'[ 16 ] bought the house "paying the purchase money in notes 'over the counter', if your lordship will pardon us using so vulgar an expression" (326). The '"vulgar expression" suggests that we should read Dracula as counter-jumper, rather than an English gentleman, and not one of us. As well as indicating Dracula's aristocratic origins, if we translate the French literally it also suggests that he is 'man of the town or city' . Dracula is perfectly at home in London in ways that none of his opponents can ever be. Jonathan is a provincial solicitor, Arthur belongs in Surrey (Godalming), Van Helsing in Holland, and Quincy in the American west. It takes their concerted efforts to force him out of London and back to Transylvania. Links to Maps Key to maps (numbered east to west) 1. Purfleet, Essex. Dr Seward's asylum and Dracula's house, Carfax 2.

'197 Chicksand Street, Mile End New Town' ( Mile End Road, Whitechapel) - location of 6 boxes from Carfax 3. 'Jamaica Lane', Bermondsey - location of 6 boxes 4. Fenchurch Street Station (trains from Purfleet) 5. Liverpool Street Station (boat trains from Holland) 6. Great Eastern Hotel, Liverpool Street (Van Helsing stays here) 7. 'Chatham Street' Southwark (Lucy staying here p.71) 8. King's Cross Station (unloading of boxes from the Whitby train) 9. Regent's Park and Zoological Gardens 10. Hampstead Heath (site of Lucy's attacks on children) 11. 'Kingstead' churchyard (Lucy buried here) 12. 'Hillingham' - Lucy's family home 13. ABC caf� near Piccadilly Circus (Jonathan p.318) 14. Sackville Street (estate agent) 15. Albemarle Hotel, Piccadilly (Arthur writes from here p.134) 16.

Berkeley Hotel, Piccadilly (Van Helsing stays here, and Jonathan p.317) 17. 'Giuliano's', Piccadilly (first London sighting of Dracula p.206-7) 18. Dracula's house, Piccadilly 19. Jonathan and Mina's walk from Hyde Park Corner, in Rotten Row, then down Piccadilly p.206 20. 'The Stores', Knightsbridge (Lucy meets Dr Seward p.138) Endnotes [1 ] Judith R Walkowitz, City of Dreadful Delight: Narratives of Sexual Danger in Late-Victorian London Virago 1992 p.26. [ ^ ] [2 ] 'London, the World City' is the title of Asa Briggs's chapter in Victorian Cities, 1963 [ ^ ] [3 ] Bram Stoker, Dracula 1897; Penguin 1979 p.9. All other references are to this edition.

[ ^ ] [4 ] Leonard Wolf (ed.), The Essential Dracula, Plume 1993 p.31 [ ^ ] [5 ] Franco Moretti, Signs Taken For Wonders: Essays in the Sociology of Literary Forms 1983 (in Glennis Byron (ed.), Dracula - Contemporary Critical Essays, Macmillan New Casebooks 1999 p.46) [ ^ ] [6 ] Even by association. His return travel arrangements are made in Galatz by "a Hebrew of rather the Adelphi type, with a nose like a sheep, and a fez" (415). [ ^ ] [7 ] Stephen Arata, Fictions of Loss in the Victorian Fin de Si�cle: Identity and Empire, Cambridge UP 1996 p.108. [ ^ ] [8 ] Jonathan Schneer, London 1900: The Imperial Metropolis, Yale UP 1999; 2001 p.99 [ ^ ] [9 ] Raymond Williams, The Country and the City, Paladin 1973 p.280.

[ ^ ] [10 ] Walter Benjamin, 'Baudelaire, or the streets of Paris', The Arcades Project, trans.H. Eiland & K McLaughlin Harvard UP 1999 p.10. [ ^ ] [11 ] Walkowitz, 1992 p.24. [ ^ ] [12 ] The Arcades Project, p. 417-8. [ ^ ] [13 ] Walkowitz, p.192 [ ^ ] [15 ] The Times, 2 October 1888 quoted in Walkowitz p. 195 [ ^ ] [16 ] A generic name for an aristocrat, see Wolf's note in The Essential Dracula p.326 [ ^ ] To Cite This Article: Gill Davies, �London in Dracula; Dracula in London�. Literary London: Interdisciplinary Studies in the Representation of London, Volume 2 Number 1 (March 2004). Online at .

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Question: The ship that brought 'Dracula' to England docked in which English town?
Answer: WHITBY